Daniel A. Novak, 2007. Labors of Likeness: Photography and Labor in Marx’s “Capital.” Criticism 49, 125–150.
This essay provides a new technological and discursive context for Karl Marx’s
theory of the laboring body and reproduction, and in doing so, seeks to change
the way we read Marx’s relationship to visuality, photographic reproduction, and
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Evans, J.V., 2013. Seeing Subjectivity: Erotic Photography and the Optics of Desire. The American Historical Review 118, 430–462. https://doi.org/10.1093/ahr/118.2.430
Although intimacy, pleasure, and desire are fundamental elements of experience and personhood, they remain overlooked in most historical analyses. This is particularly true when it comes to erotic images.
Of course, getting at an embodied history of desire is no simple task, especially since the function and resonance of photographic sources is hardly self-evident.
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Paasonen, S., 2010. Labors of love: netporn, Web 2.0 and the meanings of amateurism. New Media & Society 12, 1297–1312. https://doi.org/10.1177/1461444810362853
Such transformations [in the production and consumption of pornography] are connected to shifts in the technologies of producing, distributing and consuming pornography.
All this calls for a rethinking of pornography as a popular media genre and the ways in which its boundaries have become stretched – and perhaps even redrawn – with the introduction of digital media tools.
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Warfield, K., 2017. MirrorCameraRoom: the gendered multi-(in)stabilities of the selfie. Feminist Media Studies 17, 77–92. https://doi.org/10.1080/14680777.2017.1261843
Mark Deuze (2012) suggests that in our increasingly mediated lives, perhaps we are the medium. Theorists of Internet and social media studies have tackled similar befuddling questions where we’ve become at once producers and consumers—pro-sumers (Alvin Toffler 1980)—or simultaneously producers and users—produsers (Karl Fahringer and Axel Bruns 2008). Studying audiences at this period in history is like “wrestling with a jellyfish” (Justin Lewis 2013) because, among other things, audiences could be both always and everywhere (Peter Vorderer and Matthias Kohring 2013) or everywhere and nowhere (Elizabeth Bird 2003).
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Zahid R Chaudhary, ‘Sensation and Photography’, pp.1-35, in:
Chaudhary, Z.R., 2012. Afterimage of empire: photography in nineteenth-century India. University of Minnesota Press, Minneapolis; London.
How might we reorient our understandings of colonial representations if we shift our focus to that interface between bodies and world that is the precondition for making meaning?
In Afterimage of Empire I argue that, following the well-traveled routes of global capital, photography arrives in India not only as a technology of the colonial state but also as an instrument that extends and transforms sight for photographers and the body politic, British and Indian alike.
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Laura Beloff, ‘From Elephans Photographicus to the Hybronaut: An Artistic Approach to Human Enhancement’, pp.51-66, in:
Elo, M., Luoto, M., 2014. Senses of Embodiment: Art, Technics, Media. Peter Lang.
[Ref Bateson and von Uexküll on environment of the organism]
Uexkull’s research revealed that every species has its own constructed Umwelt because each species reacts in a distinctive way to the same signals it receives from the physical world. What is thus necessary for one’s biological survival, is included within one’s perception of the world; the Umwelt.
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Birk, L., Foley, S., 2013. Afghan box camera. Dewi Lewis Publishing, Stockport, England.
Gulbert would recite prayers and verses and blow on the camera, and then take out the photographs announcing, “A MIRACLE!”
In Afghanistan in the 1950s a simple hand-made wooden camera known as the kamra-e-faoree began to be used widely in the country for the first time.
Further afield in industrialised Europe and North America, patented relations had already appeared in the 1910s; whilst the photograph process the camera used was first introduced by William Henry Fox-Talbot in 1840s England.
In contrast […] to photography as a thing of the elite, the kamra-e-faoree brought photography to the common man and quite literally, to the street.
Only a narrow pavement slot was required to fit a camera, a chair and a cloth backdrop. The chair in which the customer posed for the portrait could also serve the photographer as a perch on which to rest or even sleep in quieter times. The camera lid provided a handy platform on which to place a pair of scissors and box of photo paper as well as hold a mug of tea and a saucer of sweets.
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Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.
The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture. The simultaneous threat and promise of the new medium was recognized at a very early date, even before the daguerreotype process had proliferated.
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Geoffrey Batchen, ‘Desiring Production’, pp.4-24, in:
Batchen, G., 2002. Each wild idea: writing, photography, history. MIT Press, Cambridge, Mass.
So no one would want to deny that 1839 was an important year in the life of photography, particularly with regard to the direction of its subsequent technical, instrumental, and entrepreneurial developments. However, the traditional emphasis on 1839, and the pioneering figures of Daguerre and Talbot, has tended to distract attention from the wider significance of the timing of photography’s emergence into our culture. This essay aims first to establish this timing and then to articulate briefly something of that significance.
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Edgar Gómez Cruz, ‘Photo-genic Assemblages: Photography as a connective interface’, pp.228-242, in:
Gómez Cruz, E., Lehmuskallio, A. (Eds.), 2016. Digital photography and everyday life: empirical studies on material visual practices. Routledge, London ; New York.
Photography, as we have understood it for more than a century, has radically changed and we are still in the process of those changes becoming stabilised.
The opening point of this chapter is that digital photography is shaping different ‘assemblages of visuality’ (see Wise 2013) from those of its photo-chemical predecessor.
I understand ‘assemblage’ following Latour’s (1990) ideas of a fixed arrangement between technologies, practices and discourses.
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